Baseshment
I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.
Lidia Draper
Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.
Candida
It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.
Milan
In the best noir traditions, Mike Figgis directed this homage to the famous sub genre of American cinema in the mid 40's, depicting neon lit and jazzy wired story of two lost souls in grimly looking Newcastle upon Tyne, their fates spun by players of the new world order. Drawing from the same well of ideas and emotions as Truffaut's "Elevator to the gallows" (Ascenseur pour l'échafaud), which also featured Miles Davis jazz score, Figgis is leading us a step further, nicely interweaving the story of misfit lovers drawn together by chance, and clash between ruthless consumerism of "American week" featuring Frank Cosmo's thuggery and unscrupulous forcefulness of it's politics on one side, and on the other, poetic soul in grand persona of Gordon Sumner alias Sting, who is devoted to true art of living jazz in the old town, not budging from what he believes in, with lovers, Kate and Brendan at his side. "The Krakow Jazz Ensemble" a motley crew of actually British musicians serve as a great antitheses to Cosmo's violent kindness, that stops at nothing to achieve its goal. Sting alone in the club, his cigarette smoking from the ashtray, playing a double bass as nothing else in the world exists is one of the many high points of this film, same as a piano tuner who appears throughout, aligning the intervals between the tones of movie's narrative.This beautifully filmed story with subtle touches of blues, B.B King "The thrill is gone" and "Call It Stormy Monday (But Tuesday Is Just as Bad)", from which it drew the title, is one of the best examples of modern noir. Wonderful film, worth revisiting, more contemporary today than when it was filmed, simply an announcement of the new era to come. Highly recommended - a must see.
jellopuke
The plot may be standard issue and the characters might be more archetypes than actual people, but this movie is great to look at, with some fine editing, and an abundance of neon-drenched, rain soaked style. It's 80's neo-noir and works tremendously.
fredpalm
i only wanted to respond to the one review about the jazz score. stormy Monday was t-bone walker's big hit. bb king recorded it among others. so figges' film was noir blues and r&b based. this while i wait for mark twain audio book to download. but a great film. ah i now realize that i must write more. Griffith's is great here. sting does a good job. but what is very interesting is figges moves. now i do not know what he did before, but this definitely foreshadows las vegas with cage who has gone on to make fine movies with no soul. but las vegas was incredibly dark and sad. anyway Monday could well be an elmore leonard crime novel/screenplay set in england. but really i only wanted to reply about the musical component. now i have 10 lines.
AZINDN
Cosmo (Tommy Lee Jones) is an American businessman with lots of connections, most under the table, who arrives in Newcastle on Tyne to seal deals. The celebration of "America Week" in England announces the malling of Great Britain as American monies of dubious sources invaded while the Thatcher government turned its head. Into this cesspool, Kate (Melanie Griffith) a local waitress and formerly an "escort" for Cosmo is recruited to play nice to business associates he sends her way. Rolling over the small business owners like Finney (Sting) a jazz club owner, Cosmo has no qualms about getting what he wants whether by legit or illegitimate means.A sub-storyline to the economic takeover by Cosmo is the love story between Kate and Brendan (Sean Bean), an Irish laborer who cleans toilets in Finney's club, but over hears the plans of two London seedy types who discuss how to make sure Finney sells the Kit Kat Klub to Cosmo. After informing Finney of their intentions, Brendan's loyalty is rewarded by his elevation to a go-for babysitting a progressive jazz band, the Krakow Jazz Ensemble who need to be picked up at the airport for a weekend gig. While Brendan carts the band around town, he falls in love with Kate. During their time together, Kate and Brendan are jumped and beaten by the roughs who surround Cosmo. The drama is predictable until a surprise twist and unexpected negotiation change the dynamic, and saves the film.The story line entwine to provide worthwhile entertainment for an hour and forty minutes, and the actors all provide solid performances. The soundtrack is a nice mix of 80s Brit sounds and cerebral jazz tunes with Sting doing a solo bass bit mid-film although he does not sing. Tommy Lee Jones is wonderful with an evil yet subtle humor to his business dealings and the sight of a young, buff and naked Sean Bean is delightful.A good afternoon film for a rainy day, if only for the performances by actors not usually cast together, and for director, Mike Figgis, an underrated early film worth checking out.
